2010 marked a resurgence of activity for Solstice with the release of Spirit, their first studio album in 13 years. Since then they've released 2011's live CD/DVD set Kindred Spirits and now a brand studio album, Prophecy. Common to all three releases is the now fully established line-up of Andy Glass (guitars, vocals), Pete Hemsley (drums), Jenny Newman (fiddle), Steven McDaniel (keyboards, vocals), Robin Phillips (bass) and Emma Brown (vocals).
The band began life in 1980 as a neo-prog collective and perhaps the most conspicuous change in recent times is the prominence of Glass' guitar playing establishing him unmistakably as the bands front-man. And whilst his phrasing still contains elements of the Latimer, Hackett and Howe style of old (particularly when he's playing the melody line) there is now a harder, bluesy edge to his soloing. He is also responsible for writing all the songs that collectively lend a new-age spirituality to the album. The concept is reinforced by the linking of each track and the thematic nature of the evocative cover and booklet artwork (by veteran Marvel Comics artist Barry Kitson). Kitson also supplied the artwork for Kindred Spirits but here the images are richer and as a result more sympathetic to Solstice's lyrical and musical style.
With each track ranging from the 8 to the 17 plus minute mark they are given plenty of time to breathe. Eyes Of Fireopens the album in subdued but atmospheric fashion, taking a generous amount of time to establish its ambient setting. The harmonies here are quite gorgeous complemented by an extended and very David Gilmour-ish guitar solo. With its lilting acoustic guitar and violin theme, Keepers Of The Truth relieves the solemn mood with Emma's uplifting vocal melody recalling the prog-folk Solstice of old. Guitar and synth solos from Glass and McDaniel respectively play fast and loose with the main theme before joyous counterpoint choral harmonies brings the song to a satisfying conclusion.
The album's near 18 minute centrepiece, Warriors is brimming with musical references. The stark piano opening echoes Yes' Awaken followed by a bouncing guitar line reminiscent of Pink Floyd's Run Like Hell. A rapid, reoccurring guitar riff brings Steve Howe's frenzied playing near the start of Heart Of The Sunrise to mind whilst Glass' main guitar theme (taking up a good deal of the songs centre portion) is very Camel-esque including a seven note phrase similar to the one in Yes' The Revealing Science of God. Finally a haunting acoustic melody is resplendent with rich vocal harmonies that are especially evocative of Jon Anderson's solo efforts (not to mention Yes in their sweeter moments).
West Wind is a song of two contrasting halves with a reflective acoustic guitar and haunting vocal intro that breaks out at the 3½ minute mark into an Ayreon flavoured metallic guitar riff in an almost middle-eastern setting. Jenny's strong violin playing and McDaniel's brassy keyboard orchestrations add to the sense of the dramatic, subsiding into meditative electric piano which returns to the opening theme. Beginning with stark electric guitar and violin, the concluding Black Water builds progressively (in the manner of Steve Hackett's Shadow Of The Hierophant) driven by Hemsley's powerhouse rhythm before returning to the strident middle-eastern flavour of the preceding track. Emma's voice doesn't enter the song until around the halfway mark and even then is sparingly used almost like another instrument, knitting effortlessly with McDaniel's memorable piano motif and Phillips' fine bass work.
With the main album clocking up almost 60 minutes, the bonus tracks may perhaps seem a tad superficial but they do at least give added value for money. All three songs are taken from the original master tapes of what would become Solstice's 1984 debut album Silent Dance, remixed here by self-confessed Solstice fan Steven Wilson. The warm melodies and introspective charm of all three is in marked contrast to the edgier mood of Prophecy even though lyrically they share a similar vision. Find Yourself has a smooth jazz ambiance and Sandy Leigh's breezy vocal whilst the infectious instrumental Return Of Spring (for me the strongest of the trio) is dominated by expressive violin playing from Marc Elton. For the acoustic tranquillity of Earthsong, Sandy's evocative singing sounds very Jon Anderson-like complemented by Mark Hawkins' moody bass which (thanks to the remix) is nicely upfront.
The bonus tracks demonstrate just how far Solstice have come since their '80s beginnings. Given the near 30 years that separate the recordings and the fact that, with the exception of Glass, the personnel has changed the album still retains a sense of symmetry which is a testimony to Wilson's sympathetic production. Bonus tracks aside, Prophecy is perhaps the strongest Solstice effort since 1997's Circles and as such bodes well for the bands future.
Conclusions:
GEOFF FEAKES : 8 out of 10